Nate Young Nate Young is a Detroit-based musician who has been working in experimental electronic sound for over twenty years. In 1998, Young founded legendary noise group Wolf Eyes. Solo and as Wolf Eyes, Young has toured the world, released countless records, collaborated with Anthony Braxton and Marshall Allen, and inspired a generation of electronic musicians. Recent accomplishments include performing his compositions with the BBC Scottish Symphony Orchestra, and creating Trip Metal Fest, an annual free experimental music festival in Detroit entering its fourth year of programming that has brought luminaries such as Morton Subotnick and the Art Ensemble of Chicago to Detroit. In 2016, Young co-created (with John Olson) the record label Lower Floor Music, an imprint of Warp Records.

The Miralia/Stranahan Duo creates innovative and dynamic soundscapes using both ancient and modern acoustic and electronic instruments. They draw influences from the avant-garde, free improvisation, experimental noise, metal, musique concrete, and ambient musics, but the results are wholly original and will never be reproduced exactly the same way again.

Eddy Kwon is a composer-performer, violinist/violist, and community-based teaching artist living in Cincinnati, Ohio. Eddy is a City of Cincinnati Art Ambassador Fellow, a Cincinnatus Presidential Scholar, and a 2016 United States Artists Ford Fellow. Eddy serves as Artistic Director of Price Hill Will, a non-profit comprehensive community development corporation serving the diverse neighborhood of Price Hill, where Eddy also lives. As a violinist/violist and improviser, Eddy has worked with Roscoe Mitchell, Famoudou Don Moye, Akua Dixon, Napoleon Maddox, Tomeka Reid, Nicole Mitchell, and Jens Lekman. Eddy is currently recording and touring with the Art Ensemble of Chicago, Tomeka Reid, and co-creating a long-term interdisciplinary performance project with artist Senga Nengudi and Degenerate Art Ensemble. As a composer-performer, Eddy works primarily in solo and small ensemble forms. Recent commissions include VIOLENCE, a performance work for electro-acoustic ensemble that explores structural violence in America, and a r c h i p e l a g o, a unison piece for electric string quartet experiencing extreme sensory deprivation (Contemporary Arts Center).

In the music he makes as Giant Claw, Keith Rankin distills the erratic world of 21st century internet culture into a string of increasingly strange albums issued by Orange Milk, the Ohio-based label he co-runs with fellow musician, Seth Graham. Using melodic keyboard lines, plunderphonic sampling, and incessant jump cuts, Giant Claw sketches out a jagged topography of the digital landscape. Over the last seven years, his music has incorporated everything from vintage movie synth scores to footwork and chiptune. After an initial string of decidedly less-bizarre albums, Giant Claw veered into stranger territory on his last two outings. 2014’s Dark Web turned split-second online trope samples into snappy juke rhythms, and 2015’s Deep Thoughts used video game sounds to create odd MIDI symphonies. His latest effort, Soft Channel, is both far more unsettling and decidedly more intimate. While he’s still dissecting a mass of samples and digital instruments, the source material is much more personal. Or to put it in Giant Claw’s own internet-informed parlance: If Dark Web was a Reddit page curated by a long list of users, Soft Channel is a Tumblr page.

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